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Word: icon (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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Usage:

...quintessential railroad builder. We first see him competing against a spike-driving machine. Standing on a rock above the crowd, he laughs confidently in the face of their disbelief at his prowess. Thankfully, Henry, as one of the few black popular legends, is neither a politically correct icon nor a cardboard character, drained of his ethnicity. He is one of the group, yet with his own story. When Henry talks with Daniel about father-son relationships, he speaks wistfully of his own father, sold downriver because he was a slave...

Author: By Cicely V. Wedgeworth, | Title: Disney Stands Tall with `Tales' | 3/23/1995 | See Source »

...grown up with this," said Tony Zacharek '95, gesturing to the Haft Seen. "Usually there are family photos around the table. It's kind of like a Christmas tree or a Menorah in that it's icon of tradition associated with the holiday...

Author: By Victoria E.M. Cain, | Title: Iranian New Year Observed | 3/22/1995 | See Source »

...operating system determines the way a computer is used, fromhow files are copied to how programs are run. In DOS you have to type in the name of the program you want to run, whereas in Windows you have to double click on the program icon. OS/2, like Windows, uses a graphical user interface (GUI); you can click and drag an icon to run a program...

Author: By Hsien Y. Wong, GUEST COLUMNISTS | Title: Software Review | 3/15/1995 | See Source »

...famous for his penetrating insights into the psychology of affirmative action. In a recent op-ed in the New York Times, Steele reiterates his long-standing critique. Affirmative action is really a "iconographic public policy--policy that ostensibly exists to solve a social problem but actually functions as an icon for the self-image people to hope to gain by supporting the policy...

Author: By Daniel Choi, | Title: The Shady Legacy of Affirmative Action | 3/10/1995 | See Source »

...several busts of Longfellow, which serve as the central pieces of the exhibit. Despite her African and American heritage, Lewis chose to work in the distinctly European genre of neoclassical sculpture, a fact that the exhibit tries to play up. Similarly, a marginalized artist's interest in a patriarchal icon like Longfellow is intended to serve as a metaphor for the difficulty of communication between members of a society polarized by racial and gender issues. In the grand scheme of "Images and Identities," Edmonia Lewis is seen not as an artist, but as a symbol. The subtle condescension towards Lewis...

Author: By Daley C. Haggar, | Title: Images of Lewis & Longfellow | 3/3/1995 | See Source »

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